Franz Liszt's compositional style for the harp in the 19th-century orchestra

Abstract:

Based upon the idiomatic, largely exposed, and highly effective harp writing in his orchestral works, Franz Liszt clearly understood the intricate workings of the double-action harp and the technical capabilities of the harpists of the time. His piano writing style was similar and at times interchangeable with his harp writing, which often carried into the arpeggios, chords, and glissandi that were incorporated in the harp parts. He was largely influenced by the Romantic composers of the time such as Schumann, Berlioz, and to certain extent, Wagner, and there are certain similarities in orchestration and compositional style that seem to carry between each composer. Liszt developed his own characteristic harp writing style that can easily be identified within scores and is very effective in conveying the mythical, angelic, and innocent images he attempts to musically convey in his symphonic poems and smaller orchestral works.